Catalogue > List by artist
Browse the entire list of Rencontre Internationales artists since 2004. Use the alphabetical filter to refine your search. update in progress
Benjamin Tiven
Catalogue : 2019The Mirrored Message | Doc. expérimental | hdv | couleur | 12:30 | USA, Suède | 2018
Benjamin Tiven
The Mirrored Message
Doc. expérimental | hdv | couleur | 12:30 | USA, Suède | 2018
The Mirrored Message documents two scientists as they prototype a new device that transfers data between wireless computer networks and living plants. Observing their work from within a sealed electronics facility near Stockholm, we follow procedural steps in the device's programming and fabrication. The initially alien laboratory space slowly reveals itself as a kind of photographic darkroom, and we watch the light-sensitive production of the device's specialized circuitry. From the artificial air of this controlled lab we move to a coastal forest near the Baltic Sea, where the transmitter is installed for testing. Weather impedes the work. As the humans slowly fade from the scene, a living specimen comes online, finally addressable by a local network.
Benjamin Tiven is a filmmaker and the co-director of Library Stack. His films have screened at FID Marseille, Viennale, Rotterdam, Oberhausen, Courtisane, MUMOK, the Institute of Contemporary Art, Philadelphia, Delfina Foundation, London, Fotografisk, Copenhagen, the Museum of the Moving Image, NYC, and Arsenale Kino, Berlin.
Alain Tjiong
Catalogue : 2014Voyeur | Fiction expérimentale | | couleur | 19:52 | Pays-Bas, Belgique | 2013
Alain Tjiong
Voyeur
Fiction expérimentale | | couleur | 19:52 | Pays-Bas, Belgique | 2013
SYNOPSIS Out of the black night she emerges. Her waving soft fair hair reminds the glamour of the Hitchcock blondes. Her pale skin fragile like a china doll. She turns her head and looks at us.
BIOGRAPHY Alain Tjiong (The Netherlands, 1991) is currently a master student film at the School of Arts (KASK) in Ghent, Belgium. His films are first and foremost a means of personal expression, a way to communicate his feelings and his thoughts with a audience. While still operating in the field of narrative fiction, he is always searching for the bounderies of narrative cinema and trying to rediscover its (lost) relevance.
Ali Tnani
Catalogue : 2019Even The Sun Has Rumors | Doc. expérimental | mov | couleur | 18:4 | Tunisie | 2017
Ali Tnani
Even The Sun Has Rumors
Doc. expérimental | mov | couleur | 18:4 | Tunisie | 2017
Dans la ville minière de Redeyef (Tunisie), un lieu désaffecté mais encore chargé d'affects : l'Economat. Institué et géré par la Compagnie de Phosphate de Gafsa durant la période coloniale, ce lieu vide porte encore en ces murs les strates de l'ambivalence d'une histoire où les surfaces miroitent et racontent la venue, là où il n'y a rien, d'un paradis de confort pour une société accablée par l'enfer du travail de la mine. Mais en deçà des apparences, c'est une réalité plus obscure que l'Economat draine : celle de l'extension commerciale d'une mine qui exploite autant la terre que ses hommes. Lieu-vestige, l'Economat est un lieu d'une mémoire désertée mais qu'un regard vidéographique et poétique investit et remet au jour, par les clairs-obscurs d'un temps qui passe, par la voix d'un enfant vivant encore dans les souvenirs d'un homme de la mine, les espaces, les surfaces et les épaisseurs historiques d'un lieu fait récits.
Born in 1982 in Tunis, Ali Tnani is a Tunisian contemporary artist based in Tunis and Paris. He received his Masters in 2007 from the Institut Supérieur des Beaux-arts of Tunis and has since exhibited widely and participated in international residency programs. Tnani recently completed a two-year residency at the prestigious Cité Internationale des Arts in Paris. A leading practitioner in the field of conceptual art, Tnani is known for his multimedia installation work examining social issues in post-revolutionary Tunisia. With a practice that draws on installation, drawing, and photography, he explores the question of erasure and the negative in narratives of traces, memory and history in an era of hyper-connectivity. He has participated in various solo and group exhibitions internationally, including the 13th Biennial of Dakar, the Musée du Bardo in Tunis, PA the Plateforme de création contemporaine and Cité Internationale des Arts in Paris, La Terrasse Nanterre Art Space and le Château d'Oiron (France), the 5th Marrakech Biennial, the Musée de Carthage in Tunis, the Musée des Beaux-Arts de Mons (Belgium) and the Biennial of young artists from Europe and the Mediterranean in Skopje, Macedonia.
Robert Todd
Catalogue : 2018Restless | Film expérimental | 16mm | noir et blanc | 0:0 | USA | 2016
Robert Todd
Restless
Film expérimental | 16mm | noir et blanc | 0:0 | USA | 2016
Changing winds, shifting moods, stirring, awaiting…
A lyrical filmmaker as well as a sound and visual artist, Robert Todd continually produces short works that resist categorization. In the past twenty years he has produced a large body of short-to-medium format films that have been exhibited internationally at a wide variety of venues and festivals including the Media City Festival, San Francisco International Film Festival, Rotterdam International Film Festival, New York Film Festival, Le Rencontres Internationale, Black Maria Film Festival, Nouveau Cinema in Montreal, Cinematheque Ontario, the Harvard Film Archive, Pacific Film Archive, the Paris Biennial, Slamdance Film Festival, and others. His films have won numerous festival prizes, grants, and artist’s awards. He teaches film production at Emerson College in Boston.
Rob Todd
Catalogue : 2017Phases of Noon | Film expérimental | 16mm | noir et blanc | 11:25 | USA | 2016
Rob Todd
Phases of Noon
Film expérimental | 16mm | noir et blanc | 11:25 | USA | 2016
Watching four species of paradise perform in four phases of noonlight reflecting on four film rolls, in four acts
A lyrical filmmaker as well as a sound and visual artist, Robert Todd continually produces short works that resist categorization. His visually stunning body of work, which comes from a deeply personal place, takes a variety of poetic approaches to looking at the personal, political, and social ways in which we choose to live. His films have been exhibited internationally at a wide variety of venues and festivals. He teaches film production at Emerson College.
Catalogue : 2016ICE | Film expérimental | 16mm | noir et blanc | 9:0 | USA | 2015
Rob Todd
ICE
Film expérimental | 16mm | noir et blanc | 9:0 | USA | 2015
Following the feel of black and white rising and falling through caverns and across plains.
A lyrical filmmaker as well as a sound and visual artist, Robert Todd continually produces short works that resist categorization. His visually stunning body of work, which comes from a deeply personal place, takes a variety of poetic approaches to looking at the personal, political, and social ways in which we choose to live. His large body of short-to-medium format films have been exhibited internationally at a wide variety of venues and festivals. He teaches film production at Emerson College.
Catalogue : 2015LoveSong | Film expérimental | 16mm | couleur et n&b | 6:0 | USA | 2014
Rob Todd
LoveSong
Film expérimental | 16mm | couleur et n&b | 6:0 | USA | 2014
Threads, strings, love`s touch attuned, rising like the dawn in song.
A lyrical filmmaker as well as a sound and visual artist, Robert Todd continually produces short works that resist categorization. His visually stunning body of work, which comes from a deeply personal place, takes a variety of poetic approaches to looking at the personal, political, and social ways in which we choose to live. His large body of short-to-medium format films have been exhibited internationally at a wide variety of venues and festivals. He teaches film production at Emerson College.
Catalogue : 2014Free-Forms | Film expérimental | 16mm | noir et blanc | 7:0 | USA | 2013
Rob Todd
Free-Forms
Film expérimental | 16mm | noir et blanc | 7:0 | USA | 2013
A small universe unbound.
A lyrical filmmaker as well as a sound and visual artist, Robert Todd continually produces short works that resist categorization. His visually stunning body of work, which comes from a deeply personal place, takes a variety of poetic approaches to looking at the personal, political, and social ways in which we choose to live. His large body of short-to-medium format films have been exhibited internationally at a wide variety of venues and festivals.
Catalogue : 2013Habitat | Film expérimental | 16mm | noir et blanc | 10:0 | USA | 2012
Rob Todd
Habitat
Film expérimental | 16mm | noir et blanc | 10:0 | USA | 2012
Locations that shift, split and spill over one another like sand in an hour glass. This is my world. A graphically-oriented spatial portrait, an in-camera layered tapestry: inversions and conversions that mark time with the chaos of my waking work-life, diffusing as it moves inward.
A lyrical filmmaker as well as a sound and visual artist, Robert Todd continually produces short works that resist categorization. His visually stunning body of work, which comes from a deeply personal place, takes a variety of poetic approaches to looking at the personal, political, and social ways in which we choose to live. His large body of short-to-medium format films have been exhibited internationally at a wide variety of venues and festivals.
Catalogue : 2011Rayning | Film expérimental | 16mm | noir et blanc | 6:0 | USA | 2010
Rob Todd
Rayning
Film expérimental | 16mm | noir et blanc | 6:0 | USA | 2010
Light rayns-rains-reigns across a dream of tranquility that thickens, darkens and evaporates.
A lyrical filmmaker as well as a sound and visual artist, Robert Todd continually produces short works that resist categorization. In the past twenty years he has produced a large body of short-to-medium format films that have been exhibited internationally at a wide variety of venues and festivals and have won numerous festival prizes, grants, and artist?s awards. He teaches film production in the Boston area, and works as editor, sound designer/editor, post-supervisor or music producer on various broadcast and theatrically-released productions.
Catalogue : 2009cabinet | Film expérimental | 16mm | couleur et n&b | 10:0 | USA | 2007

Rob Todd
cabinet
Film expérimental | 16mm | couleur et n&b | 10:0 | USA | 2007
Une salle destinée à l'exposition d'objets ou ?uvres d'art. Une vue dans, à travers, et à partir, d'un ensemble de « cabinets », récipients à la fois actifs et passifs. Le film se penche sur ce qui rend possible l?intimité dans la médiatisation, grâce à une étroite attention aux mouvements, aux contours, aux textures et aux couleurs des objets et des scénarios proches du réalisateur. L?instable sentiment de présence ressenti entre le sujet, le spectateur, l?auteur et la machine est ce qui anime les transformations visuelles de ce film.
Robert Todd réalise des courts-métrages dans la région de Boston depuis 1990. Son corpus d??uvres, visuellement étonnantes et difficilement définissables ou classables, provient d?un lieu très personnel, calme, réfléchi, et curieux. Ses films empruntent diverses approches poétiques pour examiner les manières personnelles, politiques et sociales avec lesquelles nous choisissons de vivre.
Brad Todd
Catalogue : 20223050 K | Vidéo | mp4 | couleur | 9:27 | Canada | 2021
Brad Todd
3050 K
Vidéo | mp4 | couleur | 9:27 | Canada | 2021
3050 K is an AI/Neural Net project which utilizes imagery of stage lighting (floods, spots, footlights, gels) sourced from 70 concerts and performances of rock music from the 1970’s. These images are in turn used as primary material for a Neural Net and provide the training model for the resultant imagery. The images which are generated from this process are visualizations of emergent forms and tableau which are the offspring of the original material. These images are then re-processed and provide the individual frames for a video representation of the GAN’s procedural and generative algorithmic creation. The hypnotic and somnambulant visuals are accompanied by a score I created, composed of a number of heavily processed aural artifacts from the era. The title ’3050 K’ is in reference to the average number of Kelvins used in stage and theatrical lighting.
Brad Todd is an artist whose works span several fields of inquiry, principally involving the research/creation of responsive environments which implicate technology as a mirror, filter and catalyst for experience writ large in both an individually embodied sense and its attendant broader socio-political context. Recent and past projects have focused on issues of visualizing and conditioning invisible, abstract and liminal material such as EMF, infrasonics, aggregate data and microclimates, while in other works the content is more explicit and political. Having received an M.F.A. from Concordia University (Montréal), he began playing music in the post-punk band Sofa, which released the inaugural album and single on the Constellation Records label. From the generative and reactive to the composed and performative, audio and sound design continues to play a key role in his works. Brad has received numerous grants and awards and has exhibited his works in galleries and media festivals in North America, South and Central America, Asia and Europe. Presently he is an instructor in the Design and Computation Arts program at Concordia University in Montréal.
Catalogue : 2019dresden.cuba.clouds | Vidéo expérimentale | mp4 | | 3:15 | Canada, 0 | 2018
Brad Todd
dresden.cuba.clouds
Vidéo expérimentale | mp4 | | 3:15 | Canada, 0 | 2018
dresden.cuba.clouds is a generative video which incorporates imagery from the skies above the city of Dresden coupled with footage of clouded ice formations and video from the Museum of the Revolution in Havana. This small database of video is processed in realtime and is sensitive to a number of parameters derived from, and responsive to, an audio recording of the Cuban "sonic attacks" of 2017. The footage of the skies and ice in particular also speak to notions of veracity as they are indistinguishable from one another. As a number of the reported cases of aural and cerebral trauma were inaudible, so too is this work. The choice of imagery from Dresden is a nod to its primacy in the place it occupies in the historical record, most obviously as the site of the devastating aerial bombing campaign during WWII. It is also referencing Dresden`s post-war history as a center of the cold war headquarters of the east German KGB/Stasi security services, notorious for their psyops, whose legacy continues today, largely unseen (and unheard it would seem). As a parable, foil and metaphor for the machinations of power and policy, this work is intended as a mute and disquieting presence, background noise.
Brad Todd is an artist whose works span several fields of inquiry, principally involving the research/creation of responsive environments which implicate technology as a mirror, filter and catalyst for experience writ large in both an individually embodied sense and its attendant broader socio-political context. Having received an M.F.A. from Concordia University (Montréal), he began playing music in the post-punk band Sofa, which released the inaugural album and single on the critically acclaimed Constellation Records label. From the generative and reactive to the composed and performative, audio and sound design continues to play a key role in his works. Brad has received numerous grants and awards and has exhibited his works in galleries and media festivals in North America, South and Central America, Asia and Europe, including the 3rd Beijing International New Media Art Exhibition and Symposium in Beijing, Eyebeam, N.Y., Paços das artes, Sao Paulo, Brazil, The New Museum of Contemporary Art, N.Y., ISEA festivals in Nagoya, Japan, Belfast and Hong Kong and Cynet art in Germany. Presently he is an instructor in the Design and Computation Arts program at Concordia University in Montréal.
Vladimir Todorovic
Catalogue : 2010the snail on the slope | Animation | dv | noir et blanc | 7:42 | Serbia, Singapour | 2009
Vladimir Todorovic
the snail on the slope
Animation | dv | noir et blanc | 7:42 | Serbia, Singapour | 2009
The Snail on the Slope is a generative movie based on a book of the same title by Strugatsky brothers. The novel is set on an unknown planet, where humans have a base from which they are investigating and trying to conquer the Forest. The Forest, which is a huge single organism is constantly changing and fighting back. It is also dangerous and there are a lot of unexplained phenomena that they are discovering, frequently. The movie is made of five chapters, which critically address the questions of artistic and scientific efforts to understand nature. The topics that arise in those chapters and that are rendered in semiotic relationship with nature are: sublime view, role of knowledge, escape from ubiquitous bureaucracy, and apocalyptic tone that comes with the destruction of nature. By applying an organic narrative structure to the generative dynamic forms, a spectator witnesses a definition of a novel cinematic experience. In the movie, all the scenes are generated with computer programming language Processing. They are created as abstractions and visualizations of the atmospheres in which all of the action takes place. The music is generated with various analog, digital synthesizers and software instruments.
Vladimir Todorovic, born 1977. Zrenjanin (Serbia), studied visual arts, at the Academy of the Arts in Belgrade and University of California Santa Barbara. Currently, he is working as Assistant Professor at the School of Art, Design and Media, NTU, Singapore. He co-founded the new media art collective called ʻsyntfarmʼ based in Singapore and the Institute for Flexible Cultures and Technologies `NAPON` in Novi Sad, Serbia. His research and art practice focus on generative art forms that are defining novel approaches in new media art and design. In his work, generative forms are utilized in the development of media performances and installations. They are used in various media including: generative video, audio-visual installation and performance, rapid-prototypes, computer games, mixed-reality systems, nano-fabrication, and various others. His projects were exhibited at events and venues like: ICA Singapore, ISEA08, Wired NextFest, Dislocate07, Enter3, ISEA06, Siggraph 06, Transmediale 05, File 2004, MuseumsQuartier Vienna, Machinista, Entermutlimediale 2, WRO05 Biennale, Museum of Contemporary Arts Belgrade, etc; and reviewed at/by: Channel NewsAsia, Reuters, ?Smart Surfaces? ? Springer/Birkhäuser, Wired, New Scientist, Gamasutra, Futures-labs, Neural.it, Res Magazine, Selectparks.net, Turbulence, Artmagazine, Remont, Danas, etc. Recently, he served as the chair of Ludic Interfaces theme and the organizer of ISEA08 in Singapore.
Jenni Toikka
Catalogue : 2023Prelude Op. 28 No. 2 | Film expérimental | 16mm | couleur | 8:25 | Finlande | 2022

Jenni Toikka
Prelude Op. 28 No. 2
Film expérimental | 16mm | couleur | 8:25 | Finlande | 2022
During a single long shot, we see two people taking turns playing the piano and listening alternately. The piece is the same on both times - Preludi Op. 28 No. 2 by Chopin - but when the performer changes, the interpretation of the song changes along with the perspective from which the song and its performance are viewed. The uninterrupted playing and single shot capture the event in one temporal moment, but as the camera moves and two people change places, time is equally layered. The performer becomes the listener and the listener becomes the performer. In one of the key scenes of Ingmar Bergman's Autumn Sonata (1978), the mother and daughter take turns playing the very same Chopin's Prelude. It is a piece that both are familiar with, so they are able to settle into the position of the other as they listen and watch the other play. A situation like this raises questions about the sense of reciprocity, simultaneity and synaesthesia. Could the roles become mixed from viewer and listener to the object of the gaze and listening? When watching the other playing, can you feel your own hands and fingers on the keys?
Jenni Toikka (b. 1983) is a Helsinki-based visual artist working predominantly with moving images. Toikka graduated from the Academy of Fine Arts, Helsinki in 2012. She has had several solo exhibitions in Helsinki including at Sinne, Forum Box and Kluuvi Gallery. In autumn 2019, her work was shown in the solo exhibition Reel at HAM – Helsinki Art Museum. Jenni Toikka’s video pieces have been seen internationally in group exhibitions and at festivals. Her work is represented in the collections of the Saastamoinen Foundation, Espoo Modern Art museum EMMA and the Museum of Contemporary Art Kiasma.
Jenni Toikka, Eeva-riitta Eerola
Catalogue : 2025W is for Waves | Film expérimental | 16 mm | couleur | 9:53 | Finlande | 2024

Jenni Toikka, Eeva-riitta Eerola
W is for Waves
Film expérimental | 16 mm | couleur | 9:53 | Finlande | 2024
The film W is for Waves takes sisters, author Virginia Woolf and visual artist Vanessa Bell, as a starting point to explore the artistic process and examine the relationship between the visual and the literary. We see a choreography of two figures taking turns reading a book and moving with two large-scale paintings. The camera witnesses the actions and plays a subtle yet active role in altering the experience of space and visibility The film was shot on 16 mm film at Bell’s country house, Charleston, in East Sussex, and at Kalervo Kallio’s Artist Home in Helsinki. The text is adapted from Virginia Woolf's novel The Waves (1931), with some modifications.?
Jenni Toikka (b. 1983) is a Helsinki-based visual artist who graduated from the Academy of Fine Arts (FI) in 2012. Toikka has had several solo and group exhibitions in Finland and abroad, and her works have been shown at international film festivals. Her work is represented by different public collections such as the Museum of Contemporary Art Kiasma and the Saastamoinen Foundation. Alongside her own artistic work, Toikka has also worked in many artistic ensembles and she is one of the founding members and curators of Monitoimitila O. Eeva-Riitta Eerola (b. 1980) graduated from the Finnish Academy of Fine Arts in 2010 and has also studied at the École nationale supérieure des Beaux-arts de Paris. She has exhibited in several group and solo exhibitions in Finland and abroad, e.g. at Galleri Bo Bjerggaard, Copenhagen, in 2015 and Gallery Jaus, Los Angeles, 2014. Eerola's latest solo show, Locus, was seen at Helsinki Contemporary in January 2022. Eerola’s work is represented in a number of Finnish art and museum collections, such as those of the Museum of Contemporary Art Kiasma, Saastamoinen Foundation, Sara Hildén Art Museum, and the Wihuri Foundation. Eerola and Toikka have been working as an artist duo since 2016. Previous collaborative exhibitions have been exhibited at Turku Art Museum's Studio (2017), Hippolyte Studio in Helsinki (2018) and Maison Louis Carré in France (2019). The process-oriented and intuitive way of working and the montage-like combining of images and the use of juxtapositions define their work.
Eleni Tomadaki-balomenou
Catalogue : 2020The Chair | Animation | hdv | couleur | 0:39 | Grèce, Royaume-Uni | 2019

Eleni Tomadaki-balomenou
The Chair
Animation | hdv | couleur | 0:39 | Grèce, Royaume-Uni | 2019
A chair with breaking legs, a seat that cannot be stabilised, a place that is not guaranteed. The chair is a short animation made for the RCA degree show showreel by Eleni Tomadaki, 2019.
Eleni Tomadaki is a Greek artist based in London. Using moving image, performance and text, her work researches Scurgriness through intersecting fiction and reality. Eleni is a Masters graduate of Royal College of Art 2019, she has shown work at Tate St Ives, South London Gallery, Uppsala Art Museum and Assembly Point amongst others.
Yan Tomaszewski
Catalogue : 2022Gangnam Beauty | Doc. expérimental | 4k | couleur | 23:11 | France | 2020
Yan Tomaszewski
Gangnam Beauty
Doc. expérimental | 4k | couleur | 23:11 | France | 2020
L'influenceur·euse anglais·e Oli London est fasciné·e par la Corée du Sud et surtout par Jimin, membre du célèbre groupe de K-pop BTS. Depuis des années, iel dépense une fortune en chirurgie esthétique pour lui ressembler et devenir à son tour une star de la K-pop. Son cheminement personnel est mis en scène via un conte coréen parlant de masques, de tabou et de chamanisme.
Yan Tomaszewski is a Franco-Polish filmmaker and visual artist trained at Beaux-Arts de Paris and at Le Fresnoy Studio national des arts contemporains. His often narrative projects combine research-based methodologies with visually seductive outcomes. His films were screened in such festivals as IDFA International Documentary Film Festival in Amsterdam (NL), FIFA Montreal (CA), FID Marseille (FR), Kasseler Dokfest (DE), Doclisboa (PT), and recently in a solo presentation for Prospectif Cinéma at Centre Pompidou in Paris (FR). He has had solo exhibitions at the Archaeological Museum in Krakow (PL), at the Musée de l’Air et de l’Espace in Le Bourget (FR) or the Middelheim Museum in Antwerp (BE). He has taken part in numerous group shows, notably at the MAK Center for Art and Architecture in Los Angeles (USA), at Artience Daejeon (KR), at the Fondation Hippocrène in Paris (FR), at the Centre Pompidou (FR), and at Manifesta 9 in Genk (BE). He has received grants from Ateliers Médicis, French Institute, DRAC, CNC-DICRéAM or the Vysehrad Fund. In 2019 he was nominated for Sciences Po Prize for Contemporary Art and in 2020 he was finalist of Studio Collector Prize and laureate of Allegro Prize.
Yan Tomaszewski
Catalogue : 2020The Good Breast and the Bad Breast | Documentaire | 4k | couleur | 22:22 | France | 2019
Yan Tomaszewski
The Good Breast and the Bad Breast
Documentaire | 4k | couleur | 22:22 | France | 2019
2002, Palm Springs, Californie : une incroyable maison d’architecte est rasée au bulldozer par un individu qui venait de l’acheter 2,5 millions de dollars. Construit en 1962, ce "bijou moderniste" situé sur un majestueux terrain de golf en plein désert, fut conçu par Richard Neutra pour héberger une grande collection d’art moderne et contemporain. En puisant dans l’intérêt de Neutra pour la psychanalyse et dans les rumeurs d’une vendetta personnelle de l’acheteur, le film mène l’enquête sur notre désir de protéger et de détruire la beauté. En écho à la théorie psychanalytique de Melanie Klein, la maison devient l’incarnation du bon sein encourageant et protégeant la créativité, tandis que l’acheteur incarne l’envie du mauvais sein destructeur.
Yan Tomaszewski est un artiste franco-polonais travaillant à la croisée de la sculpture, de l’installation et du cinéma. Son travail a été présenté lors d’expositions personnelles, notamment au Musée Archéologique de Cracovie (PL), au Musée de l’Air et de l’Espace au Bourget (FR), au Centre d’art contemporain Kronika à Bytom (PL), au Middelheim Museum à Anvers (BE), à la galerie Asymetria à Varsovie (PL) ou à Primo Piano à Paris (FR). Il a participé à de nombreuses expositions collectives, notamment à Artience (Daejeon, KR), au Fresnoy Studio national des arts contemporains (Tourcoing, FR), au Prix Sciences Po pour l’art contemporain (Paris, FR), à la Galerie municipale Arsenal (Poznan, PL), à Chapter II (Séoul, KR), à la Fondation Hippocrène (Paris, FR), à Chalet Society (Paris, FR) au Centre Pompidou (FR), à Manifesta 9 (Genk, BE), à la Saline Royale d’Arc et Senans (FR). Ses films ont été présentés au FID Marseille (FR) et à DocLisboa (PT).
Pierre Tonachella
Catalogue : 2025Longtemps, ce regard | Doc. expérimental | hdv | couleur | 0:0 | France | 2024
Pierre Tonachella
Longtemps, ce regard
Doc. expérimental | hdv | couleur | 0:0 | France | 2024
Pierre Tonachella films not only to return to his childhood home in Essonne, but also to find in the work of cinema a raison d'être equal to that of the friends who stayed behind. A fragment from Schiller's letters, one of four literary excerpts that punctuate the film and provide a middle ground between the poetic and the political, suggests that return is a compass for aesthetic education. Far from sterile nostalgia, this compass points both to fidelity to origins and to a path for the future. For a long time, this vision has revived the collective, collaborative form of Jusqu'à ce que le jour se lève (presented at Cinéma du réel in 2018) after a film dedicated to his poet friend Théophile Cherbuin. Familiar faces are reunited, and each enters the film without introduction, through varied stagings that project shared memories onto the stage of the game, while the space left vacant by the biographical narrative is invested by words from other times and places. In praise of friendship, an intimate attachment to the land and a documentary on a proletarian, contemporary rurality, all come together in the exercise of an attentive, open, precise and free gaze. Closer in this respect to early Guiraudie or Creton than to Bruno Dumont, this vision echoes the words of Mahmoud Darwich: “This is the strength of poetry: there is no last poem. The horizon is open. The path to poetry is poetry. There is no last station, not even God. [...] If we knew what this poem was, we'd write it and be done with it.” (Text: Antoine Thirion)
Pierre Tonachella was born in 1988. He grew up in a village in Essonne, then studied philosophy and film theory in Paris before devoting himself to documentary filmmaking. His work blends the intimate and the political, and is often made with people close to his village. He also writes poetry.
Chelsea Tonelli Knight
Catalogue : 2009The Official | Installation vidéo | dv | couleur | 6:30 | USA | 2007

Chelsea Tonelli Knight
The Official
Installation vidéo | dv | couleur | 6:30 | USA | 2007
Dans l?installation vidéo à trois canaux « The Officiel », Chelsea Tonelli Knight explore les fantasmes du pouvoir au sein de la bureaucratie. Tourné dans les bureaux privés et les couloirs de l'ONU à New York, « The Officiel » entreprend d?examiner le rôle d?un diplomate de sexe masculin au sein d?une institution idéalisée. Ce qui semble à première vue être un documentaire ou une interview se transforme en un récit fragmenté dans lequel le théâtre de l'autorité et de la séduction se joue entre le diplomate et son interlocuteur, non identifié. Les deux personnages adoptent une série d'attitudes, en déplaçant les tensions entre institutionnel et intime et en questionnant la manière dont ils se définissent l?un l'autre.
Chelsea Tonelli Knight est une vidéaste et artiste performance basée à Chicago (USA). Elle a obtenu son MFA (Master of Fine Arts) à la School of the Art Institute de Chicago en 2007 et a été boursière Fulbright en Italie en 2007. Knight a exposé aux USA et en Europe, notamment lors d?expositions à la Werkschauhalle Gallery des Spinnereigalerien de Leipzig (Allemagne), au St. Louis Art Museum (USA), au Centro Arte Moderna e Contemporanea della Spezia (Italie) et a participé en 2007 à la Biennale d?Istanbul (Turquie).
Oliwia & Jerem Tonteri
Catalogue : 2010Unknown | Fiction | 35mm | couleur | 4:45 | France, Finlande | 2008
Oliwia & Jerem Tonteri
Unknown
Fiction | 35mm | couleur | 4:45 | France, Finlande | 2008
?Then I saw the face belonging to the voice that had spoken all night long.?
Oliwia Tonteri studies documentary film and Jerem Tonteri film editing at University of Art and Desing (UIAH), Helsinki.
Duro Toomato
Jaan Toomik
Catalogue : 2008HARE CHRISTMAS | Art vidéo | dv | couleur | 2:0 | Estonie | 2007

Jaan Toomik
HARE CHRISTMAS
Art vidéo | dv | couleur | 2:0 | Estonie | 2007
In the medieval Town Hall Square, in the heart of the Old Town of Tallinn stands a huge fir tree. Christmas is in the air. On the streets is the hustle and bustle of present buying and preparation. Around the tree itself is a Christmas market, a range of kitsch, purpose built, festive stalls almost filling the square with their decorative, superfluous bric-a-brac. Approaching faintly is the familiar sound of the Hare Krishna, those naives with their innocent philosophy who always bring a condescending smile to our faces, blissfully chanting their way through the city ? ?Hare Krishna - Hare Rama?. But as the sound approaches it becomes clear that the chant is not Hare Krishna but actually ?Hare Christmas - Hare Christmas?, and it is not our friends from the Krishna community but in fact a line of Santa Clauses in the familiar red attire and with flowing white beards, skipping along to the rhythm of the chant. A young girl is explaining to us her desire to do something good and worthwhile in the world. She wants to help others. She is kind. The sound of her voice is honest but we do not see the speaker ? what we see is an interior, a living place, if it can be called that. The slum, of an alcoholic, anti-social character, who it is hard to believe has any hope left or even cares anymore. The rooms are infested with cockroaches and flies. Heaps of decomposing rubbish strewn around. We can easily imagine the smell of the place. Two different worlds that at some point in time will collide.
Jaan Toomik
Catalogue : 2011OLEG | Fiction | | couleur | 20:0 | Estonie | 2010
Jaan Toomik
OLEG
Fiction | | couleur | 20:0 | Estonie | 2010
Jaan Toomik (born 1961; lives and works in Tallinn) is a video artist and a painter, often described as the most widely acknowledged Estonian contemporary artist on the international scene. In the Estonian art world Toomik received recognition as a painter from the late 1980s and from the early 1990s as an installation and video artist. The critics often refer to him internationally as the most well-known contemporary artist from Estonia [2] mainly due to his short video works that have received wide international acclaim (e.g. Father and Son, 1998). He has participated at the São Paulo Biennale (1994), ARS ?95 (1995), Manifesta 1 (1996), Venice Biennale (1997; 2003), 4th Berlin biennial of contemporary art (2006).
Patrick Topitschnig
Catalogue : 2017Carusel | Doc. expérimental | 4k | couleur | 5:41 | Autriche, Roumanie | 2015
Patrick Topitschnig
Carusel
Doc. expérimental | 4k | couleur | 5:41 | Autriche, Roumanie | 2015
With precisely composed filmic-tableaux and through minimal movements the work Carusel evokes the image of a post-apocalyptic playground, while somewhere outside or above various doomsday scenarios take their course. It is a setting of the Zeitgeist-phenomenon celebrated by our pop culture in graphic novels, computer games and television series in all of its enjoyment and pessimism. Carusel triggers trails of thought in-between mythical traditions and actual fear of the dark. In an elevator ride in one of the sequences, we eavesdrop a conversation of a family: Arguably, the rest of the world still standing. Carusel was shot in the damp caverns of a former Romanian salt mine which was reused as a bomb shelter in the second world war and is now refurbished as an erie underground amusement park. Though equipped with a carousel, ping-pong tables, a childrens’ playground and rowboats, the combination with large threatening steel structures and surreal light-objects still produce a gloomy atmosphere and ambience of fear. It seems that the mythical echos of the historically charged site are still abound, yet absurdly translated into an uncanny and bizarre „amusement park“. Marlies Wirth
Patrick Topitschnig is a Vienna based filmmaker and audio artist and also collaborates on theatre projects. After he finished his studies in Commercial Information Technology he studied Intermedia Art and Narrative Film in Vienna and Berlin under the likes of Bernhard Leitner, Erwin Wurm, Constanze Ruhm and Thomas Arslan. For his diploma in 2012 he produced the experimental video “Right to Hospitality”. He received several awards, such as the Fred Adelmueller Grant and the Ursula Blickle Preis for his video "Concision of the Whole" (2007) ("Zerschneidung des Ganzen"). In 2013 he was granted the STARTstipendium for video and media art (Austrian Federal Ministry for Culture and Arts). He works primarily with video and sound, often within installative contexts. His works center on direct physical experience and immediate reception of time, as well as on enduring and measuring the passing of time on a visual or on an acoustic basis. Permanent repetitions or continuous oscillations constitute a recurrent theme.
Tanin Torabi
Catalogue : 2025Until... | Vidéo | 4k | couleur | 13:49 | Iran | 2022
Tanin Torabi
Until...
Vidéo | 4k | couleur | 13:49 | Iran | 2022
"Until..." is a single-take video, captured using only the switch between the front and back cameras of an iPhone by the performers, and filmed during the 2022 "Woman Life Freedom" protests in Tehran, Iran. The video not only presents a highly intricate choreography for the camera, infused with the originality and urgency of what is deemed 'possible' in that specific situation, but also encapsulates the essence of unity, resilience, and purposefulness demonstrated by young artists responding creatively and courageously to an actual brutal situation in Iran.
Tanin Torabi is a multi-award-winning filmmaker and choreographer acclaimed for her innovative single-take short dance films in Tehran, described by critics as 'pushing the boundaries of screendance.' In 2021, Dance Magazine recognized her as one of the '9 Screendance Artists You Should Know.' Throughout the past decade, Tanin has showcased her films at over 200 film festivals and academic institutions globally, while also conducting workshops at universities and institutions like The Place London, Irish World Academy of Music and Dance, Villa Arson, ArtEZ Arnhem, Mov’in Cannes, and Tetralab Screendance. She has served on jury panels for prestigious festivals such as the Cannes Dance Film Festival and Dance Camera West, to name a few. Her recent accolades include the esteemed Cinedans Grand Jury Prize, ZED Festival’s Best Original Storytelling Prize, and the AVIFF Festival Jury Award for her 2023 film Until. Her 2017 film The Derive is one of the most frequently showcased dance films at festivals, winning many awards, including the Best Film Prize at the San Francisco Dance Film Festival, Dance Camera Film Festival, and Southampton Film Week. Tanin has previously received numerous awards in categories like Creative Vision, Best Artist Film, Best Inspirational Film, Best Inspiring Woman in a Film, Best Experimental Film, and Best Documentary. Juries have described her works as rebellious, without words but full of expression, inspiring, evoking the feeling of real life, emblematic and poignant, and empowering to women over the years. In 2024, she received a 7-month bursary from the Institut Français to conduct choreographic research at the Cité Internationale des Arts residency in Paris. She was also invited as an Associate Artist for Dance Limerick in Ireland to offer workshops to the University of Limerick and Dance Limerick's joint programs and conduct choreographic research. As a choreographer and performer, she has collaborated with numerous dance artists internationally, most notably with NYC-based choreographer Yoshiko Chuma since 2021 in her international shows. Currently, she is the artist-in-residence at Villa Arson, in collaboration with the Collège de France, engaging in the university's pedagogic programs, offering mentorship, and working on her screendance projects and writings. Tanin holds an MA in Contemporary Dance from the University of Limerick in Ireland and a BA in Sociology from BIHE.
Noam Toran, Onkar Kular
Catalogue : 2008Postponing the Inevitable | Fiction | 16mm | couleur | 16:0 | USA, Royaume-Uni | 2007

Noam Toran, Onkar Kular
Postponing the Inevitable
Fiction | 16mm | couleur | 16:0 | USA, Royaume-Uni | 2007
"Postponing the Inevitable" est un film présentant trois interprétations différentes du thème de la mort proche. Basés sur des histoires vraies, les chapitres "Falling", "Faking" et "Freezing" se situent entre le récit cinématographique traditionnel et un espace ambigu de représentation visuelle, demandant au spectateur d'interpréter les indices qui lui sont proposés: un éboueur est photographié par une femme pour une raison inconnue, un homme va et vient sur une plage, un hôpital ne contient qu'un seul patient.
Noam Toran est né en 1975 à las Cruces à New Mexico. Il a étudié les beaux arts. Il a réalisé des décors de théâtre et de cinéma avant de recevoir son MA en design au Royal College of Art de Londres. Son oeuvre utilise plusieurs disciplines et médias, du film à l'installation en passant par le design conceptuel, et explore les implications sociales, psychologiques et éthiques des technologies naissantes, de la culture de masse, du cinéma et de la photographie. L'oeuvre de Toan est exposée, projetée et publiée sur le plan international, notamment au MOMA de New York, au MUDAM du Luxembourg, au Centre Pompidou de Paris, et au Kulturhuset de Stockholm. Actuellement, il enseigne au Royal College of Art et donne des conférences à travers le monde.